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The Lie transcript
Episode 2 - Written by: Edward Kitsis and Adam Horowitz Directed by: Jack Bender ---- Act 1 [Three Years Ago] [Flashback - A refrigerator door opens, and a male arm reaches in to extract two bottles of Jekyll Island Red Ale. The bottles clink as the man carries the beer through what appears to be the room of a well-furnished house. Then, the man exits through a heavy deck door as one might find on a boat. The boat is the Searcher, Penelope Widmore's boat, and the man, who climbs a set of steps to join the other survivors on the top deck, is Frank Lapidus, the chopper pilot. On deck, Kate cradles baby Aaron.] HURLEY: Dude, they'll find out. JACK: Not if we stick to the story. SAYID: I don't know, Jack. It could be a risk. JACK: It's the only way. We have to do this. hands a beer to Desmond, who sits next to Penny, listening to the argument. LAPIDUS: They're still at it, huh? JACK: Look, we're running out of time. We gotta make a decision now. So are we all okay with this? SAYID: This is a decision that will affect the rest of our lives. I'm not taking it lightly. JACK: Kate? KATE: Yeah. JACK: Sun? nods silently. JACK: Frank? LAPIDUS: What? JACK: Sorry you got dragged into this, but we need to know that you're with us. LAPIDUS: Whatever you guys decide, I'll just roll with. JACK: Hurley, what about you? HURLEY: I don't think we should lie, dude. JACK: We need to protect the people that we left behind, Hurley. HURLEY: How does lying protect them? JACK: It protects them from Charles Widmore. The guy hired a boatload of people to kill all of us. He faked a plane crash. I mean, you think telling him the truth, he's just gonna—he's gonna leave them alone? HURLEY: Penny Look, he's your dad, right? Can't you just, like... call him off? PENNY: There's no calling my father off. HURLEY: But he'll never find them. I mean, the Island disappeared. We all saw it. It's gone. Bloop! JACK: You think anyone's gonna believe that... believe any of it? They're gonna think you're crazy. HURLEY: Not if someone backs me up. Sayid, come on. They'll think I'm nuts if I tell the truth. But what if we all do? And if we can stick together, we can make 'em believe us. I don't want to spend the rest of my life lying. Do you? SAYID: No. But... I don't believe we have a better choice. takes Sayid's response badly. SAYID: Sorry, Hurley, but we have to lie. HURLEY: You know what, dude? I'm gonna remember this. And someday, you're gonna need my help, and I'm telling you right now... you're not gettin' it. ---- off-Island - Hurley drives an SUV at break-neck speed, with an out-cold Sayid in the passenger's seat. HURLEY: Wake up, Sayid! Sayid! Sayid, wake up! Sayid! shakes Sayid, taking his eyes off the road. Tires squeal as Hurley corrects. Hurley attempts to buckle Sayid in while driving, but has to take his eyes off the road to fit the buckle. The SUV plows through a plastic crate stacked on top of a garbage can and some discarded cardboard boxes sitting on the sidewalk. The tires skid and squeal as Hurley attempts to get back on the road. Hurley closes his eyes with relief that he didn't crash, but a siren blaring makes him open them again. Looking in his rear-view mirror, he sees a police cruiser's flashers. HURLEY: No, no, no, no, no! What do I do?! tries to shake Sayid to consciousness again. HURLEY: What am I supposed to do?! siren blares again, and Hurley pulls over with the cop car right behind him. He turns off the engine. Hurley can hear indistinct police radio chatter as the officer steps out of the car and approaches. HURLEY: Okay, okay, okay. Just stay calm. officer knocks on the window and Hurley rolls it down. The officer, whose name tag reads "Cortez", takes off her dark shades to reveal a familiar face. ANA LUCIA: What the hell were you thinking? HURLEY: Ana Lucia? ANA LUCIA: You were driving like a maniac. And why'd you pull over? HURLEY: I just... I—I thought— ANA LUCIA: You didn't think. What if I were real? What if a real cop stopped you? They already have pictures of you covered in blood with a gun in your hand. HURLEY: his shirt Actually, it's ketchup. We went to a—a drive-thru, and, uh... ANA LUCIA: Well, you need to pull it together. You've got a lot of work to do. HURLEY: I do? ANA LUCIA: Let's start with the basics. First off, you need new clothes. Then you need to go to a safe place. And take Sayid to somebody you trust. You getting all this? HURLEY: Nodding Yeah. ANA LUCIA: door Then get to it. And stay away from the cops. points at him. ANA LUCIA: Do not get arrested. HURLEY: Thanks, Ana Lucia. horn honks on the street. Ana Lucia dons her sunglasses again and turns to leave, then: ANA LUCIA: Oh, yeah. Libby says hi. looks in his rear view mirror, and then behind him. No sign of the police cruiser. HURLEY: Well... you heard her. starts the engine. Act 2 - On the beach, the survivors have gathered. It is still daylight, but the sun is setting. Bernard, Rose, and several other survivors have gathered driftwood and have set to the task of making a fire. Bernard has constructed a simple bow. ROSE: You really think that thing's gonna work? BERNARD: Rose, I told you a hundred times. Of course it's gonna work. Yes. I worked hard on it. It's better than rubbing two sticks together. ROSE: Well, I heard that's what you're supposed to do, is rub— BERNARD: Yeah? Well, I think this is gonna work better, all right? ROSE: Well, I think you got too much wood here in the inside. That's gonna smother the leaves. BERNARD: Rose, if you don't have enough wood, the leaves just burn out. FROGURT: Fire? Who cares about fire? Any minute the sky could light up, and who the hell knows what could happen this time? stops and stands up. ROSE: Neil, we are trying to focus on what we can control. You are either gonna help or be quiet! SAWYER: Whose shirt is this? FROGURT: It's mine. SAWYER: Can I have it? FROGURT: What does it matter? We're all gonna be dead by sundown. SAWYER: I'll take that as a "yes," Frogurt. FROGURT: It's Neil. SAWYER: Yeah, yeah. dons the shirt and walks toward the Zodiac, where Juliet is examining the engine. SAWYER: Still in one piece? JULIET: As far as I can tell. SAWYER: I figured it would've disappeared with the rest of our stuff. JULIET: I guess whatever we had with us when we moved is along for the ride. SAWYER: What? JULIET: Look who's back. has emerged from the jungle onto the beach. Charlotte greets him with a hug. Miles is sitting up against a nearby tree. Sawyer and Juliet walk up. SAWYER: Welcome back, Dr. Wizard. MILES: I think it's Mr. Wizard. SAWYER: Shut up. Faraday You've been gone for two hours. What the hell were you doing? FARADAY: Yeah, you're absolutely right. I'm sorry. I... chuckles left my pack in the jungle and I was coming back I—I—I just—it was a while before I realized that I was just... uh, I was really lost. SAWYER: Well, you figure out when the sky's gonna light up again? FARADAY: I don't know. SAWYER: Well, you at least got a plan? JULIET: I think we should take the Zodiac, head to a shipping lane. FARADAY: No. No, no, no. We can't just sail out on any course. For us to leave, I need to calculate a new bearing, and, uh, to do that... extracts a geared brass apparatus from his backpack. FARADAY: ...I need to determine where we are now... in time. CHARLOTTE: And what are the rest of us supposed to do? MILES: I'm gonna go find us something to eat. JULIET: And how are you planning on doing that? MILES: Don't worry about it. gets up and walks off. JULIET: I guess we'll get the water. ---- - Water splashes. Onto Sayid's face. HURLEY: Dude, wake up! Come on. I can't do this on my own! still sits in the passenger's seat of the SUV. Hurley hovers over him, looking in through the passenger-side door. Hurley takes two $20 bills from Sayid's wallet. HURLEY: I promise I'll pay you back. puts the wallet back into Sayid's jacket pocket and then puts a pair of sunglasses onto Sayid, trying to position Sayid's head upright. HURLEY: Wait right here. closes the car door, and Sayid's head slumps lifelessly back to the right. Inside of a gas station convenience store, Cheap Trick's "Dream Police" plays on the radio. Hurley enters and makes a beeline for the rack of cheap T-shirts. He passes up the white "I [heart my Wirehaired" shirt for a yellow one that says "I heart my Shih-Tzu".] TRICK: They're waiting for me / They're looking for me / Every single night / They're driving me insane / Those men inside my brain brings the shirt to the counter, staffed by a listless young female clerk wearing a nose stud. CLERK: Shih Tzus? HURLEY: I like Shih Tzus. CLERK: It looks like you "heart" them. TRICK: The dream police CLERK: Hurley's ketchup-splattered shirt Rough night? TRICK: They come to me in my bed HURLEY: Yeah. CLERK: Sayid out in the parked car through the window Your friend's pretty wasted. HURLEY: Yeah. CLERK: I know you from somewhere, don't I? notes that a TV behind the clerk, playing a newscast with volume muted, shows his photograph, with the caption "Triple Murder Suspect". HURLEY: No. CLERK: closer I think I do. Yeah, you definitely look familiar. HURLEY: I just have one of those faces. CLERK: You're lying. HURLEY: I don't believe in lying. CLERK: I remember! You're the guy who won the lottery... and crashed in that plane! HURLEY: No. I must look like him. CLERK: You're him. Hey! Buy a ticket here. If you win, we get a commission. You're good luck. HURLEY: Sorry. Wrong dude. Keep the change. of waiting for the clerk to ring up his purchase, Hurley slaps the bill onto counter and takes off out the door. at the car, Hurley throws his old shirt on the back seat and, having pulled on the new yellow "Shih-Tzu" shirt, gets back in the driver's seat, closes the door, and buckles up. HURLEY: Okay. Okay, we're outta here. starts the engine, the tires squeal, and the car pulls out of the gas station parking lot. As the SUV departs, a gray sedan pulls into the same parking lot. Kate is the driver. She turns off the engine, removes her sunglasses, and rubs her face with her hand. She opens the glove compartment, pulls out a Los Angeles city map, and unfolds it. Aaron whines from the back seat, a red crayon disinterestedly scrubbing away at a page of an Easter coloring book called "Hop To It!" AARON: Mommy, I wanna go home. turns around to look at him. KATE: Look at your book, baby. up on the map, she opens her cell phone, and begins to search "J-A" on the contacts, bringing up the listing for Jack Shephard: 323-555-0156. She almost presses the send button, but then re-folds the phone with a sigh. Just then, the phone rings. The outer display reads "Unknown". Kate opens the phone. The inner display reads "Unknown Caller". Kate presses the button to pick up. KATE: Hello? .... I—I can't believe it's you. .... No. Hi. How are you? ... Wait, you're in L.A.? ... Of course I can meet, yeah. What... I know exactly where that is. I'll be there in half an hour. shuts the cell phone. AARON: Mommy, where are we going? KATE: To see a friend. ---- of a dark hotel room, the slats of an HVAC vent cover rattle as Ben Linus unscrews the cover and removes a case from the HVAC shaft. It's heavy. He dumps it into his bag sitting on the bed, and observes as Jack comes in and begins feeling a pair of pants left on the floor and looking through the closet. Ben zips up his bag. BEN: You looking for your pills, Jack? I flushed them down the toilet. JACK: Sniffs Thank you. I was just gonna do that myself. BEN: Yeah, I figured you were. JACK: Going somewhere? BEN: I'm checking out. JACK: Where are we going? BEN: You're going home. And find yourself a suitcase. If there's anything in this life you want, pack it in there... because you're never coming back. JACK: Good. Sighs BEN: Good. I'll pick you up in six hours. JACK: And where will you be going? BEN: John's casket is outside in a carpet van. I need to move it somewhere safe. JACK: Safe? He's dead, isn't he? BEN: I'll see you in six hours, Jack. ---- knife saws a sandwich bun in half. DAVID: Mmm. Salami. Caviar. DAVID: Mmm. caviar gets spooned onto the sandwich-under-construction liberally. Triumphantly, David Reyes carries his lunch—the sandwich, copious nacho chips, grapes, and a bottle of expensive water—out of the kitchen and into the TV room. He sits down into a large, comfortable-looking brown leather recliner and flips on the TV remote. ANNOUNCER: TV Previously on Exposé... pulls the recliner lever and kicks his feet up, then brings the lunch plate back to his lap and sighs satisfactorily. On the TV, tires squeal. WOMAN 1: TV It looks like the Scorpion is taking over all the Cobra's business. WOMAN 2: TV You want me to work with Tsunami, the Dragon Lady of Van Nuys? WOMAN 1: TV Yeah. WOMAN 2: TV I'm here to capture the Scorpion, so if you've got a problem with that, you can go work Stage 3. burrows hungrily into the salami-and-caviar sandwich. But then, his gustatory pleasure is interrupted by a knocking on door. the TV, gunshots. MAN: TV She's hit! grunts. On the TV, people are screaming. Sighing, David mutes the TV. chomping, David makes his way to the front door. But it isn't the front door rapping, it's a side door. DAVID: Hmm. changes course and goes to the side door, which continues to rap. David opens it to find Hurley, Sayid slung over his shoulders. HURLEY: Hey, Dad. How's it going? Act 3 carries Sayid through the kitchen and into the foyer. HURLEY: You seen the news? DAVID: No. I just got up. Why, are you wanted again? HURLEY: Uh, yeah. Kinda. Is Mom here? DAVID: No, she's out shopping. Hey, set him over there. Oh, man, he's out. HURLEY: Is he... breathing? DAVID: Barely. What happened? HURLEY: He got shot by a dart. DAVID: Dart? What, were you in the zoo or something? HURLEY: No, we were at the safe house. DAVID: Safe house? HURLEY: Sayid took me there to protect me. Then these two guys jumped down, they shot him with darts, and now he's—he's in a coma or something. DAVID: Hugo, this doesn't make sense. And what are you doing out of the mental institution? HURLEY: Sayid pulled me out. I'm in danger. We both are. DAVID: Danger from who? HURLEY: Beat I'm not sure exactly. intercom rings. David sighs and goes over to it, pressing the button. DAVID: Hello? DETECTIVE: intercom Mr. and Mrs. Reyes? L.A.P.D. Can you open the gate, please? DAVID: Hurley Just what kind of trouble are you in? HURLEY: Dad, please! Just don't tell 'em I'm here! DAVID: All right, but then you're gonna tell me the truth. ---- later, David finishes up talking to two police detectives dressed in suits. Hurley watches from afar, peering through a distant door window. David takes a card from the detectives. DETECTIVE: Well, give us a call if you hear anything. We really appreciate it. DAVID: Thanks, bye-bye. I'll have to tell him. waves goodbye to the detectives as they leave, and he shuts the door behind him. David opens the door that Hurley is hiding behind. DAVID: You killed three people? HURLEY: No. Sayid did. DAVID: Oh. Well, that's better. Come on. Let's get him to the couch. HURLEY: He saved me. DAVID: I think we should call a lawyer—right now. HURLEY: No, no, no. We can't go public. They're after us. carrying Sayid's legs, and Hurley, carrying Sayid's shoulders, move the limp Iraqi back into the foyer and put him on the couch. DAVID: Who? Who is after you? HURLEY: I don't know. Sayid knows. He can explain. DAVID: Sayid ain't explaining nothing. We need to get him to a hospital. HURLEY: Did you not hear me? People are trying to kill us. We go to a hospital, they'll find us! Like—like The Godfather. It's the last place you go. Everyone knows it. Wh—they—they smother you with pillows and make it look like an accident. Sayid, please wake up! DAVID: That's not gonna work. We need a doctor. HURLEY: I think I know what to do. ---- hotel elevator bell dings, and several people get out. Kate, holding Aaron by the hand, enters. AARON: Mommy, Mommy, can I push the button? KATE: Sure you can, sweetie. But we're all the way to the top, okay? lifts him up. KATE: So I want you to press number 3-1. You see it? You see it? Okay. You get it. 3-1. presses the button. KATE: Yeah! That's the one! You pressed it! You pressed it! their destination floor, Kate and Aaron walk through the penthouse lobby and ring the doorbell to the suite. The door opens. KATE: Hi. SUN: Hello, Kate. ---- cleaver finishes chopping beef on a butcher's block, and a butcher's hands wrap the meat in paper. Ben Linus enters the butcher shop and takes the number 342. JILL: Have a nice day. I'll be right with you. female customer takes the package and leaves. The butcher shop door opens, a horn honks outside, and the door closes. Ben stands at the butcher shop counter. JILL: Hello, Ben. If it's the Porterhouse you're looking for, we're out. is a middle-aged blonde woman with short hair, who wears a white butcher's coat. BEN: No, no Porterhouse. I do, however, have something very important in my van, Jill, and I need you to watch it for me. JILL: Is it what I think it is? BEN: It is. JILL: He'll be safe with me. BEN: Have Gabriel and Jeffrey checked in yet? JILL: Yeah. Everything's moving right on schedule. How's it going with Shephard? BEN: He's with us. JILL: Really? What'd you do, bribe him with some pills? BEN: Sternly Cut the man some slack. He's been through a lot. We all have. JILL: Right. Of course. Whispers Sorry. BEN: So keep him safe, Jill. Because if you don't... everything we're about to do... won't matter at all. turns to leave. ---- - In the dark, on the beach. The sound of sticks scraping together, and waves crashing, and Vincent whining. Then, suddenly, a small ignition in the darkness. ROSE: Aah! Laughs Oh, you got it! You got it! You got it! You got it. You got it. MAN: All right! Finally we got... who has been doing the rubbing with his bow, blows on the tiny flame... and blows it out. Bernard groans. ROSE: Why did you do that? BERNARD: Because you're supposed to fan the flame, Rose. FROGURT: I thought you said you knew how to start a fire. ROSE: And I thought you said you didn't care. FROGURT: I care about surviving. ROSE: I think you need to take a time-out, Neil. scoffs and turns away. ROSE: You'll get it, Bernard. You will. BERNARD: Yeah. All right. ROSE: Just—just try again. little ways up the beach, Charlotte approaches Faraday, who has been sitting alone by the surf. She carries a couple of mangoes from the jungle. CHARLOTTE: Hey. FARADAY: Hey. Give me one second. picks up, then puts away his journal and brass gear apparatus. CHARLOTTE: Sighs I got you something. sits down next to him and hands him a mango. FARADAY: Ooh. Hey. CHARLOTTE: I found these in the jungle. FARADAY: Look at that. Thank you. CHARLOTTE: There was only two, but I thought we could both do with a bite to eat. Chuckles FARADAY: Thank you very much, very much. inhales sharply, apparently in pain. Faraday puts a hand on her shoulder. FARADAY: You all right? CHARLOTTE: I just can't seem to shake this bloody headache. Sighs FARADAY: Well... I'm sure it'll pass. CHARLOTTE: No, it's not just that. It's the weirdest thing. Earlier, I was... I was thinking about my mom, and all of sudden, I—I couldn't remember her maiden name. I mean, isn't that odd? FARADAY: Don't worry about it. Listen, all of us have been under a lot of stress. Okay? CHARLOTTE: Daniel... do you know what's happening to me? MILES: Dinner! and Daniel look over to the direction of the call. Everyone stirs—even Frogurt stands up—as Miles strides out of the jungle with a black-haired boar over his shoulders. BERNARD: That's great! Wow! Where'd you get that? MILES: I found it. grunts as he flops the boar down in the middle of the group. Thud. SAWYER: What do you mean you "found" it? MILES: Panting It died in the jungle. I found it. Don't worry. It's fine. It's only been dead three hours. MALE SURVIVOR: What? grunts as he tries to peel open the skin of the boar with his hands. MILES: Who's got a knife? FROGURT: A knife? You need a knife? Oh, it's over by the Cuisinart next to the stove. MILES: What's your problem? FROGURT: My problem is, we don't have a knife. W—we don't have anything. And it wouldn't even matter if we did, 'cause Bernie the dentist can't even start a fire. SAWYER: Hey, ease up there, Frogurt. FROGURT: It's Neil, you inbred! starts toward Frogurt. Juliet gets up and takes Sawyer by the hand, lovingly but hopelessly trying to pull him away from confrontation. FROGURT: And I'm not gonna ease up, 'cause I'm tired and I'm hungry and I'm screwed! We're all screwed! JULIET: Calm down, Neil. We're gonna get through this. FROGURT: How are any of us gonna get through this?! Didn't you hear what I just said?! We can't even get fire! then, a flaming arrow strikes Frogurt in the chest, and his torso bursts into flames. FROGURT: Aah! gasps. Frogurt screams. Sawyer and Juliet look up as three, four, a dozen flaming arrows come hurtling out of the jungle and right toward them. SAWYER: Run! Act 4 more flaming arrows hit the sand. One of them strikes Miles' boar, right in front of where Miles is sitting, causing Miles to jump up in panic. Everyone shouts and screams as they run away from the arrow volley. Faraday and Charlotte get up and make a run for it, Faraday not forgetting to grab his pack. Arrows whoosh and strike everywhere around them. Another arrow strikes Frogurt; he screams and collapses. All run. A man falls, Sawyer helps him up. Vincent barks. People shout. SAWYER: Come on! Split up! Everybody, get to the creek! whoosh, a woman screams. Daniel pulls Charlotte, until she collapses in the sand as a flaming arrow sticks into a tree trunk right next to her. CHARLOTTE: Ow! Dan! backtracks and helps her up. A man with a flaming arrow stuck in his side collides with a tree trunk. Sawyer takes cover behind a tree, but a flaming arrow hits the trunk, the fire illuminating his face. WOMAN: Keep moving! man is hit with a flaming arrow right in his belly, and he falls to the ground. MAN: Aah! Uhh! who has been helping a woman to flee, kneels down beside him and attempts to put the fire out by smothering it with sand. Arrows continue whooshing all around her, and people scream. ANOTHER MAN: Offscreen Uhh! Uhh! scream. Arrows whoosh. Sawyer sees Juliet and comes back for her, grabbing her away from the fallen man. SAWYER: Come on. He's dead. JULIET: No! has succeeded in putting out the flames, and she tries checking the man's pulse at his carotid, but Sawyer pulls her away. SAWYER: Come on! You wanna be dead, too?! Come on! run, but Juliet looks back. Arrows continue whooshing. SAWYER: There's nothing you coulda done. We gotta go now! and Sawyer are the last among the living to escape the flaming battlefield. ---- - Hurley peers out an upstairs window at a black sedan parked across the street from his house. One of the detectives brings the other detective, in the driver's seat, coffee. HURLEY: Dude, they're on a stakeout? DAVID: You just escaped from a mental institution. There's dead bodies everywhere! Of course they're on a stakeout! They think you're crazy enough to come back home. S—so are you... crazy? HURLEY: Do you think I am? DAVID: Well, either that or you're lying to me. HURLEY: I'm not crazy, and I have a really good reason why I'm lying to you. DAVID: W—well, what is it? CARMEN: Why there is a dead Pakistani on my couch?! and David look down the stairs. Hurley's mother has come home, several boutique shopping bags in her hands. Hurley calls down to her. HURLEY: He's not dead, Ma. CARMEN: Well, he's not breathing. HURLEY: He's not?! DAVID: It's okay, Carmen. We have a plan. CARMEN: A plan? What are you talking about? HURLEY: He is breathing... kind of. Dad, we gotta go now. grabs Sayid's legs and David grabs Sayid's shoulders. They cart him through the house. CARMEN: Hugo, what's happening? HURLEY: Mom, please! CARMEN: No "Mom, please" me! Why are you all over the news? Do you know what they are telling about you? HURLEY: Yeah, Mom. I know. Look, everything's gonna make sense. I promise. CARMEN: It better! ---- the garage door opens, and David's red SUV pulls out of the space next to Hurley's Camaro. As he drives by the detectives, David smiles and waves. DAVID: Officers. ---- pours into a teacup. It's Kate holding the kettle. KATE: So how long are you in L.A.? SUN: Just a few days. I have some business to attend to. But I wanted to see you. is looking through her several wallets in search of something. SUN: Here it is. Her name's Ji Yeon. Here's a baby picture. KATE: Oh! She's beautiful. SUN: Thank you. She's with her grandmother in Seoul. I hope someday you get to meet her. It would be nice to see her and Aaron play together. KATE: Yeah. stirs her tea, the spoon rattling in the teacup. SUN: Kate? Are you all right? KATE: Yeah. I'm fine. SUN: Are you? KATE: Somebody knows we're lying. SUN: What? KATE: Some lawyers came to see me. SUN: Who? KATE: Two men. They came to my house and they asked for a blood sample. Some kind of lawsuit. They wanted to test to see if... to see if Aaron's my son. SUN: Who did these lawyers represent? KATE: I don't know. They wouldn't tell me who their client is. SUN: Then they're not interested in exposing the lie. KATE: How do you know? SUN: Because if they were, they would just do it. They wouldn't come to you in private. They don't care that we're lying. They just want Aaron. KATE: But who... who would do that? We— SUN: I don't know, but you need to take care of them. KATE: What do you mean, "take care of them"? SUN: Wouldn't you do anything you had to in order to keep Aaron? KATE: Offended What kind of a person do you think I am? [Back on the freighter Kahana, Jin runs down the deck, waving his arms, shouting in Korean. Sun screams at him from the helicopter, which hovers above.] SUN: flashback Jin! Jin! SUN: The kind of person who makes hard decisions when she has to. the flashback, baby Aaron cries. KATE: flashback You get the baby on the chopper. I'll get Jin. SUN: Like you did on the freighter. You told me to get on the helicopter, and you said you'd get Jin. the flashback, Jack grabs Kate, halting her. JACK: flashback We gotta get outta here! KATE: Sun, I hope you don't think... well up in Kate's eyes. SUN: But you did what you had to do. And if you hadn't... we probably all would've died instead of just my husband. KATE: Whispers I'm sorry. voice I'm so sorry. has begun to cry. KATE: I... Crying takes Kate's hand and shakes her head. SUN: I don't blame you. forces a pained smile. SUN: So... How's Jack? smile disappears from Kate's face. ---- parking deck. David leads Jack to David's red SUV. DAVID: Hugo said I could trust you. I wasn't so sure. But he swore I could, so... can I? JACK: Yes. Of course. DAVID: All right. pops the hatchback and pulls back a Mexican striped woven blanket to reveal Sayid lying there unconscious. JACK: What happened to him? feels for a pulse on Sayid's wrist and pulls back an eyelid. DAVID: Hugo said he got hit with some dart. Must've been some drugs or something. JACK: And where is Hurley right now? DAVID: At our house, freaking out. JACK: Let me get my car. Help me move him over. I'm gonna have to get him to the hospital. walks—David follows. DAVID: No. No, H—Hugo said that whoever did this—they'll come back after him. JACK: All due respect, Mr. Reyes, but you brought him to me, so I'm gonna do what I think is best for Sayid. DAVID: All right, fine. Take him to the hospital. But with all due respect to you, Dr. Shephard, when this is over, you're gonna do something for me. JACK: What? DAVID: Stay away from Hugo. Whatever it is you talked him into, something tells me you don't have his best interests at heart. So stay away from my son. gets into his brown Ford Bronco and closes the door. ---- siren wails, tires screech as Jack pulls up to the emergency department of Saint Sebastian Hospital, just as an ambulance does. As Jack parks, his brakes squealing, he calls on his cell phone. BEN: phone Hello? JACK: Ben... you'll never guess who just showed up at my door. BEN: Who? JACK: Sayid. Act 5 at Hurley's house, Carmen removes the cap from a glass bottle of lemon soda and serves it to her son, who sits at the table, looking dismal. CARMEN: Who is Sayid? I thought he was your friend. HURLEY: He is my friend... but he's also got this double life where he does crazy Ninja moves and spy stuff. But he's a good guy. CARMEN: A good guy doesn't kill three men. A good guy doesn't kill any men. HURLEY: Mom— CARMEN: Don't "mom" me. You are in terrible trouble, Hugo. walks around him. He sips the soda. She sits down and leans into him. CARMEN: The news thinks you did this. And if the news does, everyone does. Why is this happening? How can anybody want to hurt you? HURLEY: I don't know. gives him the eye, then gently tugs his chin toward her. CARMEN: Tell your mother the truth. breaks down. HURLEY: We lied, Ma! CARMEN: What do you mean you lied? HURLEY: cracking All of us—the Oceanic Six, we lied about what happened after the crash. CARMEN: And what did happen? HURLEY: Okay. See, we did crash, but it was on this crazy island. And we waited for rescue, and there wasn't any rescue. And there was a smoke monster, and then there were other people on the island. We called them the Others, and they started attacking us. And we found some hatches, and there was a button you had to push every 108 minutes or... well, I was never really clear on that. But... the Others didn't have anything to do with the hatches. That was the DHARMA Initiative. The Others killed them, and now they're trying to kill us. And then we teamed up with the Others because some worse people were coming on a freighter. Desmond's girlfriend's father sent them to kill us. So we stole their helicopter and we flew it to their freighter, but it blew up. And we couldn't go back to the island because it disappeared, so then we crashed into the ocean, and we floated there for a while until a boat came and picked us up. And by then, there were six of us. That part was true. Whispers But the re... voice breaks. He takes a second to regain composure. HURLEY: But the rest of the people... who were on the plane? They're still on that island. puts her hand on her son's wrist. CARMEN: I believe you. I don't understand you, but I believe you. HURLEY: A lot of people died, ma. And now this bad stuff is happening because... well, um... sighs we shouldn't have lied. sighs ---- - Darkness, the jungle. Juliet and Sawyer trudge onward, until Sawyer stumbles. SAWYER: Ow! twig snaps underfoot. Juliet turns back. JULIET: Whispering You okay? SAWYER: Yeah, I'm fine. I just stepped on something. Something jammed...! examines his foot and gets angrier as he sees what has happened. He has been walking barefoot, and a small, sharp twig has stuck, deeply, into the ball of his left foot, beside his big toe. There is a squishing sound as he pulls it out, grunting, and finally, sighing. SAWYER: Whispers Son of a bitch. throws the twig away. SAWYER: We should keep moving. We gotta hook up with everybody at the creek. JULIET: It's a long creek, James. Which part? SAWYER: I don't know—the wet part. Sorry if my plan's not up to others' stan— rustle, footsteps approach. Sawyer and Juliet step back and crouch behind some cover. They observe a man in a uniform walking with a rifle. When it appears he has gone, they sigh. SAWYER: Whispers Who were those people? Are they yours? Did they shoot the arrows? JULIET: You want me to crawl out there and ask 'em? SAWYER: You don't have to be a wiseass. I'm just trying to— Juliet is grabbed by her hair and lifted up by a man in a uniform. JULIET: Gasps Aah! SAWYER: Hey! jumps up, but just as soon, another uniformed man comes out of the darkness to grab him and put a machete to Sawyer's neck. Sawyer grunts, and Juliet pants, as a third man, with the name label "JONES" on his uniform, points a rifle at them. JONES: accent What are you doing on our island?! Act 6 - In Saint Sebastian, Jack lays Sayid down on an operating table. He puts a face mask over Sayid. VOICE OVER P.A.: Respiratory therapist to ICU. Respiratory therapist... valve hisses as Jack turns the knob on a container of compressed gas. He places four ECG electrode on Sayid's chest and boots up the ECG monitor, which begins beeping and showing a fairly steady heart rhythm. Jack goes into a supply closet and goes hunting. He pulls a vial and draws some liquid out of it with a syringe, then injects the drug into Sayid's arm. A woman continues speaking indistinctly over the P.A. Jack checks the ECG monitor again. JACK: Come on. Son of a bitch. Come on, Sayid. Come on. pulls up Sayid's eyelids and shines a penlight into Sayid's eyes. But Sayid's eyes are unfocused and distant. Suddenly, Sayid's eyeball turns to Jack, and Sayid grabs Jack by the throat, choking him violently. JACK: Say— strained voice Sayid. It—it's... it's Jack. Hey! Uhh! lets go, and pants. JACK: Whispers It's okay. It's all right. You're okay. You're all right. gasps, and continues panting. Jack closes the door to the room and pours a drink of water, exhaling deeply. JACK: Ahh. SAYID: What happened? JACK: You're fine. You're in the hospital. Hurley's father brought you to me. SAYID: Hurley's father? JACK: Sayid, you've been attacked. SAYID: Where's Hurley? JACK: He's at his parents' house. SAYID: Who's with him? JACK: I don't know. His mother, maybe? SAYID: Does anyone else know he's there? ---- A Hot Pocket rotates inside of a microwave. Ding! Darkness. Then, the door opens, and Hurley extracts his snack, burning himself HURLEY: Aah! Whispers Aah. drops the Hot Pocket onto a stack of paper napkins on the counter. A shadowy figure steps into the kitchen. BEN: Hello, Hugo. HURLEY: Aah! flings the Hot Pocket. It strikes the door frame next to Ben, leaving a greasy mark. HURLEY: Get away from me. Get away! BEN: Hugo, I know you're in trouble, and I can assure you I've taken care of everything. steps forward and places his hands on a chair back. BEN: I have a car waiting for us out back. The police didn't see me come in. I can get you out of here. HURLEY: No way, dude. Sayid warned me about you. BEN: I'm taking you to Sayid. He's with Jack. That's why I'm here, Hugo. Jack called me. How else would I know that they're together? HURLEY: No. You're—you're playing one of your mind games. They would never trust you. BEN: In their defense, I'm not an easy person to trust. But they came around when they realized that we all want the same thing. HURLEY: And what's that? BEN: To go back to the Island. Come with us, Hugo... and this'll be over. You can stop hiding. You can stop worrying about the stories and the deceptions. If you come with me, you won't ever have to lie again. searches within himself. Ben steps forward. BEN: Please. Let me help you. HURLEY: Never, dude. footsteps—Hurley flees outside. Ben follows. Outside, Hurley shouts. The detectives turn out their flasher and step outside of their car. HURLEY: Hey! Hey, you got me! That's right, you got me! That's right! I'm the killer! DETECTIVE: Stop! Police! Face your back towards me! Slowly drop down to your knees! complies. Ben stands near the house, watching. HURLEY: I'm the killer. I'm crazy. I'm a murderer. I killed four people... three people. However many are dead, I killed them. I killed them. click on Hurley's wrists. HURLEY: I killed them all. J—just—just get me away from here. DETECTIVE: You have the right to remain silent. Anything can and will be used against you in a court of law. detective continues putting on the handcuffs and reading Hurley his rights as the other detective continues pointing his gun at Hurley. DETECTIVE: You have the right to speak to an attorney and to have one present during any questioning... HURLEY: Just get me out of here. DETECTIVE: If you can't afford a lawyer, one will be provided for you. saddened, returns into the house. Hurley smiles, and gets to his feet. ---- - Juliet grunts as she is thrown to the ground. Jones covers Sawyer with his rifle as the other two uniformed men press Juliet against a rock, holding her hands behind her back. One of them has the name label "CUNNINGHAM". The other wears a cap and is labeled "MATTINGLY". JONES: I'm gonna make this quite simple for you. You're gonna tell me what you're doing, how many of you there are and how you got here. SAWYER: Let her go. JONES: Unless you're answering my questions, don't speak! I want you to tell me everything or I'll cut off her other hand. JULIET: What?! SAWYER: Other? JONES: The first one isn't negotiable. unsheathes his machete. JONES: It's just to illustrate how serious I am. pulls on Juliet's arm and raises the blade while Jones holds her other arm back. JULIET: No! SAWYER: Hold on! Hold on! Chill out! We're not supposed to be here. Something's happening to the Island. There are these flashes— JONES: Do it! JULIET: No! SAWYER: Wait a second! I'll tell you whatever you want to know! JONES: Do it! JULIET: No! prepares to chop, when suddenly, a large rock strikes him in the head, and he falls to the ground with a grunt and a thud. Jones points his rifle in the direction of the rock attack, but gets a rock to the head himself. JONES: Uhh! charges at Cunningham, tackling him, straddling him, and beating him. Juliet takes up Jones's rifle and covers him. Jones looks up at her. Mattingly arises, his head bloodied and missing its cap, and, enraged, he raises his machete and prepares to kill Juliet while she isn't looking and while Sawyer is busing beating Cunningham. Suddenly, a knife flies out of the darkness and into Mattingly's side. MATTINGLY: Uhh! Uhh! collapses. Footsteps approach. Juliet points her rifle in their direction. Hands pull the knife from Mattingly's abdomen. LOCKE: Panting James. Juliet. lowers her rifle. LOCKE: Nice to see ya. ---- - A dark, secret lair. A Foucault's pendulum whooshes quickly across the room. File cabinets, relic columns, a chalkboard filled with mathematical equations. A hooded figure adds to them, hurriedly, the chalk banging at the board. The figure draws a universal set symbol backwards, erases it, then adds it again and continues. Whoosh goes the pendulum. A computer beeps. It's an old Apple III with a monochrome green-and-black screen, similar to the computer seen in the Swan station. The hooded figure sits down to the terminal and taps at the keyboard furiously. The monitor displays a crude world map. The pendulum, which has chalk at its end, makes another whoosh across the room, and marks another cross-hatch on the floor, creating an asterisk marking a position on a chart of the Pacific Ocean. The map on the computer monitor bears several similar asterisks, and the words "EVENT WINDOW DETERMINED" blink across the screen. The hooded figure stops typing, then turns and looks at the pendulum as it creates several more marks. She pulls a flashlight from her desk, gets up, and exits the chamber through a large metal vault door, then crosses a dark room and climbs a spiral staircase, into a Christian chapel with many votive candles burning. Benjamin Linus is lighting one of them. He turns. The figure removes her hood and spreads out a cloth onto the altar. BEN: Any luck? SHROUDED WOMAN: accent Yes. BEN: Really? SHROUDED WOMAN: Really. What about you? BEN: I'm having some... difficulties. SHROUDED WOMAN: Well, you better get busy... chuckles because you only have 70 hours. BEN: No, no, that's not enough time. I need at least— SHROUDED WOMAN: What you need is irrelevant. turns, revealing her identity. MS. HAWKING: 70 hours is what you've got. BEN: Look, I lost Reyes tonight. What happens if I can't get them all to come back? MS. HAWKING: Then God help us all. de:5.02 Die Lüge/Transkription Category:Season 5